Richard R. Nelson
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199231423
- eISBN:
- 9780191710865
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199231423.003.0012
- Subject:
- Business and Management, Political Economy
This chapter argues that economists are right in seeing ‘the right institutions’ as the key to economic productivity and progressiveness. But for the argument to be delved deeper, it needs to be ...
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This chapter argues that economists are right in seeing ‘the right institutions’ as the key to economic productivity and progressiveness. But for the argument to be delved deeper, it needs to be recognized that there is a very real challenge; the magnitude of the challenge is only beginning to be understood. The conglomerate of things different economists have called institutions largely reflects the fact that many different kinds of structures and forces mould the way individuals and organizations interact to get things done — so-called ‘social technologies’. Economic growth involves the co-evolution of technologies and the institutions needed for their effective operation and advancement. Some institutions provide the broad background conditions under which technologies can proceed, and others come into existence and develop to support the important new technologies that are driving growth. The chapter reviews the processes of institutional change and argues that institutional change, and its influence on economic activity, is much more difficult to direct and control than technological change, and hence prevailing institutions are often drags on economic productivity and progressiveness. The evolution of technology and institutions in pharmaceutical biotech is considered.Less
This chapter argues that economists are right in seeing ‘the right institutions’ as the key to economic productivity and progressiveness. But for the argument to be delved deeper, it needs to be recognized that there is a very real challenge; the magnitude of the challenge is only beginning to be understood. The conglomerate of things different economists have called institutions largely reflects the fact that many different kinds of structures and forces mould the way individuals and organizations interact to get things done — so-called ‘social technologies’. Economic growth involves the co-evolution of technologies and the institutions needed for their effective operation and advancement. Some institutions provide the broad background conditions under which technologies can proceed, and others come into existence and develop to support the important new technologies that are driving growth. The chapter reviews the processes of institutional change and argues that institutional change, and its influence on economic activity, is much more difficult to direct and control than technological change, and hence prevailing institutions are often drags on economic productivity and progressiveness. The evolution of technology and institutions in pharmaceutical biotech is considered.
Robert Adlington (ed.)
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195336641
- eISBN:
- 9780199868551
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195336641.001.0001
- Subject:
- Music, History, Western, Popular
During the 1960s many avant‐garde musicians were intensely involved in the era's social and political upheavals, and often sought to reflect this engagement in their music. This volume examines the ...
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During the 1960s many avant‐garde musicians were intensely involved in the era's social and political upheavals, and often sought to reflect this engagement in their music. This volume examines the encounter of avant‐garde music and ‘the sixties’, across a range of genres, aesthetic positions, and geographical locations. Rather than providing a comprehensive survey, the intention is to give an indication of the richness of avant‐garde musicians' response to the decade's defining cultural shifts. Many of these musicians were convinced that aesthetic experiment and social progressiveness made natural bedfellows. Yet this stance threw up some sharp dilemmas. For instance, how could institutional and governmental subsidy for recondite music continue to be justified in the context of demands for democratised decision‐making in cultural affairs? How was the cultural baggage of established performance institutions (such as concert halls, symphony orchestras, and broadcasting organizations) to be reconciled with a radical critique of bourgeois values? Most fundamentally, how could avant‐garde musicians make a meaningful contribution to social change if their music remained the preserve of a tiny, initiated clique? The contributors address music for the concert hall, tape and electronic music, jazz and improvisation, participatory ‘events’, performance art, and experimental popular music, and explore developments in the United States, France, West Germany, Italy, the Netherlands, the Soviet Union, Japan, and parts of the so‐called ‘Third World’. Each chapter draws on new archival research and/or interviews with significant figures of the period.Less
During the 1960s many avant‐garde musicians were intensely involved in the era's social and political upheavals, and often sought to reflect this engagement in their music. This volume examines the encounter of avant‐garde music and ‘the sixties’, across a range of genres, aesthetic positions, and geographical locations. Rather than providing a comprehensive survey, the intention is to give an indication of the richness of avant‐garde musicians' response to the decade's defining cultural shifts. Many of these musicians were convinced that aesthetic experiment and social progressiveness made natural bedfellows. Yet this stance threw up some sharp dilemmas. For instance, how could institutional and governmental subsidy for recondite music continue to be justified in the context of demands for democratised decision‐making in cultural affairs? How was the cultural baggage of established performance institutions (such as concert halls, symphony orchestras, and broadcasting organizations) to be reconciled with a radical critique of bourgeois values? Most fundamentally, how could avant‐garde musicians make a meaningful contribution to social change if their music remained the preserve of a tiny, initiated clique? The contributors address music for the concert hall, tape and electronic music, jazz and improvisation, participatory ‘events’, performance art, and experimental popular music, and explore developments in the United States, France, West Germany, Italy, the Netherlands, the Soviet Union, Japan, and parts of the so‐called ‘Third World’. Each chapter draws on new archival research and/or interviews with significant figures of the period.
Robert Adlington
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195336641
- eISBN:
- 9780199868551
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195336641.003.0001
- Subject:
- Music, History, Western, Popular
The artistic avant‐garde, many of its theorists seem to agree, is a culture of subversion. Yet recent Anglo‐American musicology has tended to emphasise avant‐garde music's disavowal of issues of ...
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The artistic avant‐garde, many of its theorists seem to agree, is a culture of subversion. Yet recent Anglo‐American musicology has tended to emphasise avant‐garde music's disavowal of issues of social and political concern. This volume assesses the intense engagement of many avant‐garde musicians in the tumultuous cultural and political developments of the 1960s, and the complex and often ambivalent status of their efforts when viewed in the wider social context. These musicians' conviction that aesthetic experiment and social progressiveness made natural bedfellows inevitably threw up some sharp dilemmas. Each chapter is briefly summarized.Less
The artistic avant‐garde, many of its theorists seem to agree, is a culture of subversion. Yet recent Anglo‐American musicology has tended to emphasise avant‐garde music's disavowal of issues of social and political concern. This volume assesses the intense engagement of many avant‐garde musicians in the tumultuous cultural and political developments of the 1960s, and the complex and often ambivalent status of their efforts when viewed in the wider social context. These musicians' conviction that aesthetic experiment and social progressiveness made natural bedfellows inevitably threw up some sharp dilemmas. Each chapter is briefly summarized.
Geraldine Harris
- Published in print:
- 2011
- Published Online:
- July 2012
- ISBN:
- 9780719074585
- eISBN:
- 9781781701010
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719074585.001.0001
- Subject:
- Film, Television and Radio, Television
This book poses the question as to whether, over the last thirty years, there have been signs of ‘progress’ or ‘progressiveness’ in the representation of ‘marginalised’ or subaltern identity ...
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This book poses the question as to whether, over the last thirty years, there have been signs of ‘progress’ or ‘progressiveness’ in the representation of ‘marginalised’ or subaltern identity categories within television drama in Britain and the US. In doing so, it interrogates some of the key assumptions concerning the relationship between aesthetics and the politics of identity that have influenced and informed television drama criticism during this period. The book functions as a textbook because it provides students with a pathway through complex, wide-reaching and highly influential interdisciplinary terrain. Yet its re-evaluation of some of the key concepts that dominated academic thought in the twentieth century also make it of interest to scholars and specialists. Chapters examine ideas around politics and aesthetics emerging from Marxist-socialism and postmodernism, feminism and postmodern feminism, anti-racism and postcolonialism, queer theory and theories of globalisation, so as to evaluate their impact on television criticism and on television as an institution. These discussions are consolidated through case studies that offer analyses of a range of television drama texts including Big Women, Ally McBeal, Supply and Demand, The Bill, Second Generation, Star Trek (Enterprise), Queer as Folk, Metrosexuality and The Murder of Stephen Lawrence.Less
This book poses the question as to whether, over the last thirty years, there have been signs of ‘progress’ or ‘progressiveness’ in the representation of ‘marginalised’ or subaltern identity categories within television drama in Britain and the US. In doing so, it interrogates some of the key assumptions concerning the relationship between aesthetics and the politics of identity that have influenced and informed television drama criticism during this period. The book functions as a textbook because it provides students with a pathway through complex, wide-reaching and highly influential interdisciplinary terrain. Yet its re-evaluation of some of the key concepts that dominated academic thought in the twentieth century also make it of interest to scholars and specialists. Chapters examine ideas around politics and aesthetics emerging from Marxist-socialism and postmodernism, feminism and postmodern feminism, anti-racism and postcolonialism, queer theory and theories of globalisation, so as to evaluate their impact on television criticism and on television as an institution. These discussions are consolidated through case studies that offer analyses of a range of television drama texts including Big Women, Ally McBeal, Supply and Demand, The Bill, Second Generation, Star Trek (Enterprise), Queer as Folk, Metrosexuality and The Murder of Stephen Lawrence.
